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1

Iconologies. Global Unity or/and Local Diversities in Art History, 23–25 maja 2019, Uniwersytet Jagielloński, Kraków

100%

Dworniczak K.

Biuletyn Historii Sztuki

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2020

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vol. 82

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issue 3

483-489

PL

Tekst jest sprawozdaniem z międzynarodowej konferencji naukowej zorganizowanej w dniach 23 - 25 maja 2019 r. przez Instytut Historii Sztuki Uniwersytetu Jagiellońskiego, Muzeum Narodowe w Krakowie oraz Ministerstwo Nauki i Szkolnictwa Wyższego. Konferencja była poświęcona ikonologii, metodzie przez dekady dominującej w historii sztuki. Skoncentrowano się zwłaszcza na recepcji tej metody zarówno w aspekcie historycznym, jaki geograficznym.

2

Fragments d’un discours iconographique : Poétique de l’image dans L’Empire des signes de Roland Barthes

71%

Lyamlahy K.

Quêtes littéraires

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2015

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issue 5

149-160

FR

Roland Barthes was not only a literary theorist, a critic or a semiotician. Above all, he was concerned with signs, symbols and representations which shape the everyday life and nourish both identities of the individual subject and the social group. As the world celebrates in 2015 the centenary of his birth, the question of his intellectual and literary legacies has never been more relevant. In the large scope of his works, L’Empire des signes, published in 1970 following several trips to Japan, is rather a particular piece which hinges on a specific combination of text and images. By looking at the structure of Barthes’s work and the relationship between the author’s discourse and the meanings released through the images, this paper aims to highlight the poetics of the image as a founding element in L’Empire des signes. The study of three categories of images used in the volume and their confrontation with the author’s developments shed new light on the contribution of the iconographic element towards a valuable understanding of signs and significations.

3

Fotografie jako ikonografický pramen pro studium lidové hudby

70%

Blahůšek J.

Národopisný věstník

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2009

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vol. 26_(68)

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issue 1

63-71

EN

In the case of the research interest in the musical instruments and folk music, the iconological research must be based on such historical iconograms, which document the folk culture in any way and then select relevant evidence from such a whole. It is always necessary to apply a critical perspective and to verify the depicted information. Some types of iconograms facilitate this perspective to some extent. Their documentary value may be great when the depicted situation is not stylized. We mean above all the photographic sources from the second half of the 19th and the first half of the 20th century. As this study states by means of a commented specification, already at that time there was a considerable interest in documentation of folk culture in the area of Central Europe. And so was it in the Czech lands. Thanks to it, there are preserved source documents which may thus become an object of the musical-iconological research.

4

Persistence, Ivy and a Crone: Old Women in Cesare Ripa's Iconology

70%

Partyka J.

Nauka

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2021

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issue 3

5

Pionierski niedosyt

70%

Hoffmann K.

Poznańskie Studia Polonistyczne. Seria Literacka

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2009

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issue 16

153-162

EN

The book Twórczość Leśmiana w kręgu filozoficznej myśli symbolizmu rosyjskiego written by Sobieska is a pioneering attempt at combining a discussion on the literary output of the author of Dziejba leśna with the reflection stemming from the tradition of the Eastern Orthodox Church. The book, notwithstanding its shortcomings and self-imposed limitations, comprehensively discusses views and opinions hitherto unknown to the Polish reader, introduces and explains the context of the findings of such thinkers as Soloviov or Biely, compares texts written by Russian symbolists with Leśmian’s poems. Sobieska categorizes the problem issues into subsequent thematic ranges (epiphany insight into the nature of being, musicality and the notion of poetical metre, creative imagination, mystical femininity) in order to point at potential sources of the recontextualization of Leśmian’s poetical sensitivity. The findings, being an example of classic comparatistic studies, have been enhanced by iconological and musicological observations as well as by some additional guiding elements facilitating the understanding of Orthodox theology. The present sketch discusses the book and is complemented with a polemics with some of its methodological solutions.

6

Iconology, visual culture and media aesthetics

70%

Mitchell W. J. T.

Poznańskie Studia Polonistyczne. Seria Literacka

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2017

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issue 30

341-364

PL

The article contains fragments of three chapters form the book Image Science. Iconology, Visual Culture and Media Aesthetics (Chicago 2015), titled The are no Visual Media , Back to the Drawing Board and Foundational Sites and Occupied Spaces . W. J. T. Mitchell created in his previous works the key concepts which imply an approach to images as true objects of investigation – an “image science”. Author, continuing with his influential line of thoughts, amplifies interdisciplinary studies of visual media. The chapters also delve into such topics as conections between new media and architecture or the occupation of space in contemporary popular uprisings. Image science is a call for a method of studying images that overcomes the “two-culture split” between the natural and human sciences.

EN

The article contains fragments of three chapters form the book Image Science. Iconology, Visual Culture and Media Aesthetics (Chicago 2015), titled The are no Visual Media , Back to the Drawing Board and Foundational Sites and Occupied Spaces . W. J. T. Mitchell created in his previous works the key concepts which imply an approach to images as true objects of investigation – an “image science”. Author, continuing with his influential line of thoughts, amplifies interdisciplinary studies of visual media. The chapters also delve into such topics as conections between new media and architecture or the occupation of space in contemporary popular uprisings. Image science is a call for a method of studying images that overcomes the “two-culture split” between the natural and human sciences.

7

DIALOGUING WITH OUTFIT – DIALOGUING WITH ICONOLOGY. ON THE PROCESS OF EXHIBITION CREATION

51%

Szaradowski P.

Muzealnictwo

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2020

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vol. 61

58-65

EN

The process of an exhibition being created in a space difficult to arrange, i.e. within the former Pszczyna Castle Stable, is discussed. In its concept, the display bonded the collection of the Castle Museum in Pszczyna in a dialogue with the study collection of the Fashion Museum. The Author analyses the manner in which the use of Erwin Panofsky’s iconology allowed to create a cohesive narrative composed of 25 minor stories of clothing, fashion, their mutual relation, and reference to the surrounding objects. This, in turn, leads to the deliberation on clothing itself and its aspects that can be investigated through different research means, in some cases concentrating on its material properties, in others, on the cultural ones. Therefore, the conclusions reached are of a general character, allowing to be used in a preparation of similar exhibitions also in other spaces.

8

Forma, „przedmiot dzieła”, Gestalt. Max Imdahl i Erwin Panofsky

41%

Bałus W.

Biuletyn Historii Sztuki

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2023

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vol. 85

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issue 4

51-68

EN

Max Imdahl was of the opinion that in the iconological method, Erwin Panofsky had not given due attention to the problem of artistic form. Panofsky indeed failed to recognise the “iconic” level of an artwork; but he sought to justify the inseparability of form and subject matter in order to prove that iconographic research was an inalienable part of art history. This inseparability also characterised iconographic types, defined by the term Gestalt. A strict correspondence of all elements made the correct perception of the work possible, since it triggered the “symbolic pregnancy”, a mode of cognition described by the Gestalt psychology and Ernst Cassirer.

PL

Max Imdahl uważał, że w metodzie ikonologicznej Erwin Panofsky nie poświęcił należytej uwagi problematyce formy artystycznej. Panofsky faktycznie nie dostrzegał „ikonicznego” poziomu dzieła sztuki, ale starał się uzasadnić nierozdzielność formy i subject matter, by udowodnić, że badania ikonograficzne są niezbywalnym elementem historii sztuki. Ta nierozdzielność charakteryzowała też typy ikonograficzne, określone terminem Gestalt. Ścisła odpowiedniość wszystkich elementów pozwalała na prawidłową percepcję dzieła, gdyż uruchamiała „symboliczną pregnancję”, sposób poznawania opisany przez psychologię Gestalt i Ernsta Cassirera.

9

Vanités : une invitation à jouir et à se réjouir ?

41%

Vuillemin J.-C.

Quêtes littéraires

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2018

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vol. 8

9-20

EN

Although a distinction between a Still life and a Vanitas painting could rest upon their respective mode of reception: iconographic for the former, iconological for the latter, the interpretation of Va n i t a s remains highly problematic. In direct op-position to its intended message of repudiation of earthly goods, the Va n i t a s runs always the risk to be perceived as an incitement to enjoy and rejoice. Tempus fugit? Therefore, carpe diem instead of memento mori.

XX

Alors que l ’histoire de l ’art ne s ’est jamais beaucoup intéressée à établir un cri-tère satisfaisant de discrimination entre Natures mortes et Va n i t é s, cet article propose une distinction basée sur le mode de réception adopté : là où une lecture iconogra-phique révèle une Nature morte, une lecture iconologique manifeste une Va n i t é. Cela dit, l ’herméneutique de celle-ci demeure éminemment problématique. Contrairement au message de renonciation aux biens terrestres qu ’elle s ’efforce en principe de diffu-ser, la Va n i t é sera toujours susceptible d ’ être perçue comme une invitation à jouir et à se réjouir. Tempus fugit ? Donc carpe diem plutôt que memento mori.

10

The weapon and the artist in the virtual reality of medieval paintings

41%

Wasiak W., Łódzki I. A. U.

Acta Universitatis Lodziensis. Folia Archaeologica

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2013

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vol. 29

PL

Artykuł podejmuje kwestię równie cenionej, co rzadko stosowanej naukowej współpracy interdyscyplinarnej. Jej brak jest szczególnie dotkliwy w badaniach bronioznawczych korzystających w dużym stopniu ze źródeł ikonograficznych i czerpiących informacje z opracowań z zakresu historii sztuki. Jeden z ważniejszych problemów wynikających z braku kontaktu między specjalistami można określić jako koło hermeneutyczne, kiedy historyk sztuki datuje malowidło na podstawie występowania jakiegoś elementu uzbrojenia, zaś bronioznawca opiera swoje datowanie użytkowania broni na podstawie podanej przez historyka sztuki daty powstania dzieła. Problem pogłębiany jest jednak zazwyczaj dodatkowo przez brak aktualnych publikacji czytelnych dla specjalistów obu dziedzin. Datowanie dzieł sztuki na podstawie obecności pewnego typu uzbrojenia i odwrotne wymagają bowiem dobrej orientacji w obu dziedzinach lub gruntownej współpracy interdyscyplinarnej.

11

“Iconologia” as an alternative look at education of people with hearing impairments

41%

Mallek-Bojke A., Pięta M. M.

Forum Oświatowe

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2018

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vol. 30

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issue 2(60)

153-165

EN

This article discusses the educational aspect of people with hearing impairments in the perspective of the sought alternative teaching methods of this group of students. The authors have analyzed the assumptions of the main models of education of students with hearing impairments implemented in the Polish education system, its most important issues, problem areas and potential solutions. The authors have also begun to reflect on the educational potentials that in the education of people with hearing impairment can be brought by the museum education. In the context of the proposed solutions, they present an interdisciplinary educational project inspired by iconology, the field of art history which supports a universal non-verbal communication and a modern model of the participatory museum.

12

Pod światło. Kilka uwag o źródłach hermeneutyki obrazu

31%

Kasperowicz R.

Biuletyn Historii Sztuki

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2023

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vol. 85

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issue 4

31-50

EN

The text constitutes an attempt to look at the potential sources from which originates the hermeneutics of the image, one of the most important methodological proposals in contemporary art history, or even within the broadly understood science of the image. In addition to certain traditions in the study of art, the hermeneutics of the image referred, in a more or less overt manner, to various philosophical concepts from within the philosophy of art, taking them as the foundation for, among others, its distinctive concept of the ontology of an artwork, the ways of recognising and describing it, as well as the aims of interpreting and elucidating the image. The article also draws attention to the paradoxical fact of the hermeneutic philosophy of the image being rooted in the currents of Romantic art theory but simultaneously displaying a critical approach to the Romantic legacy.

PL

Tekst jest próbą przyjrzenia się potencjalnym źródłom, z których wyrosła hermeneutyka obrazu, jedna z ważniejszych propozycji metodologicznych we współczesnej historii sztuki czy nawet w obrębie szeroko zakrojonej nauki o obrazie. Hermeneutyka obrazu, oprócz określonych tradycji w badaniach nad sztuką, nawiązywała również, w sposób mniej czy bardziej jawny, do rozmaitych koncepcji filozoficznych w obrębie filozofii sztuki, fundując na nich między innymi charakterystyczną dla siebie ideę ontologii dzieła, sposoby jego poznawania i opisywania, a także cele interpretacji i wykładni obrazu. W artykule zwrócono ponadto uwagę na paradoksalne zakorzenienie hermeneutycznej filozofii obrazu w nurtach romantycznej teorii sztuki, przy jednoczesnym krytycznym podejściu do spuścizny romantycznej.

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Iconologies. Global Unity or/and Local Diversities in Art History, 23–25 maja 2019, Uniwersytet Jagielloński, Kraków

Fragments d’un discours iconographique : Poétique de l’image dans L’Empire des signes de Roland Barthes

Fotografie jako ikonografický pramen pro studium lidové hudby

Persistence, Ivy and a Crone: Old Women in Cesare Ripa's Iconology

Pionierski niedosyt

Iconology, visual culture and media aesthetics

DIALOGUING WITH OUTFIT – DIALOGUING WITH ICONOLOGY. ON THE PROCESS OF EXHIBITION CREATION

Forma, „przedmiot dzieła”, Gestalt. Max Imdahl i Erwin Panofsky

Vanités : une invitation à jouir et à se réjouir ?

The weapon and the artist in the virtual reality of medieval paintings

“Iconologia” as an alternative look at education of people with hearing impairments

Pod światło. Kilka uwag o źródłach hermeneutyki obrazu